Matthew Reel is a real auteur when it comes to his film’s visual style. His editing techniques, color correction and digital compositing set “The Goat Sucker” apart from the masses of other digital filmmakers. He utilizes his digital gear to the peak of its potential, creating more of a moving painting than a collection of moving photographs. This isn’t to say Reel’s visual style is limited. The imagery exhibited is extensive; brightly lit sequences with chunky dark shadows, soft grainy trancelike images, and vibrantly potent colors, creating an almost surreal science-fictional quality. “The Goat Sucker” isn’t merely a visual experience either; Reel also utilizes an eclectic array of music for his soundscape. For instance, the film opens with an almost “King Kong” (1933) type quality with the choice of foreboding drum beats and suspenseful wails. Then later during a striking dreamlike garden sequence (introducing the lovely Elske McCain as Candy) the viewer is immersed into another realm, as if transported into nostalgic 70’s cinema, bringing the hippie party sequence in Sergio Martino’s “Torso” to mind. All things combined make for an intriguing auditory and ocular experience.

Reel not only directs but also takes the lead as “The Goat Sucker”; an overweight snuff filmmaker who spends his days drinking Moosehead, smoking and eating alphabet soup while visions of murder plague his mind. Adorned in a yellow Mexican wrestler mask, blue jeans and a white wife-beater, our antihero hangs out in his self-made desert wasteland. There he reflects while ingesting the misery of his captives through a baby monitor. His imprisoned vixens stay helpless in a gravel cell below ground. Until of course, the director calls “action”.

Shot in a non-linear fashion, we peak into the mind/world of “The Goat Sucker” in segments which create a dissimilar experience when confronted with other serial killer cinema. Since the film is more visual than orally driven we quietly visit the character melodically pared with Reel’s choice of soundscape giving the film a sometimes dreamlike, sometimes nightmarish quality (which may or may not come off as slightly pretentious). Additionally a differing sequence altogether shows a cinematic library of The Goat Sucker, which features his victim “Dead Bitch #3” which lets the viewer briefly delve further into his work. Elske McCain’s performance as Candy is effectively calm and subtle (aside from her eye-catching dance montage), and combined with this style of filmmaking has the viewer anticipating her subsequent foray into additional cinema.

“The Goat Sucker” is a serial killer film shown through an altogether different viewfinder, separating it from the rest of the subgenre. “The Goat Sucker” is a peerless departure from the average murder film, which is why Reel’s vision of uniqueness is so enjoyable.

BATH WATER

"Wanna go halfsies on a stain?”

As an inclusion on this DVD, “Bath Water” follows a one-liner-slinging character, aptly credited as Loser (Luke Rook), as he follows through on a bet with a Friend (Aaron Dobkin, "American Asshole"). The two have a running bet to see if Loser can hook up with a girl by only using lame pickup lines. When optimism is almost lost, our hero manages to corral him an attractive Vixen (Laura Lipsy) by utilizing the term, "You are so fine I could drink your bath water", which to the average heterosexual male is an effective yet crude way of expressing to your buddies your intense attraction to a girl. This coercion concludes with him at her place, calling up his bet-buddy in mocking delight.

The night advances. The Vixen gets comfortable with a bottle of wine and a bath. What our unsuspecting Loser eventually realizes is that this chick actually takes him up on his haphazard one-liner. The problem is: will a glimpse of heaven result in something more sinister, or perhaps even deadly?

“Bath Water” is short but effective, and further showcases Reel’s versatility as a director. There is enough charisma in Luke Rook’s performance and chemistry between the two that “Bath Water” is a worthy companion to this DVD.

Cult-Stitch Home Video’s DVD release of “The Goat Sucker” comes equipped with commentaries for both films. The commentaries -- which include the cast and crew -- are a recommended listen and showcase the fun that was had in the making of the films. The extras continue with an exclusive music video for “The Goat Sucker” titled “Sex, Guns and Machines”, and a short behind-the-scenes segment, “on the set of… The Goat Sucker”, which was fun but was not as long and I would have hoped. Continuing is the complete “Dead Bitch #3” footage and an “Alternate Purvis Scene”. Rounding off the disc is a trailer and “Original Web Promo” for “The Goat Sucker”. An easter egg is also included which shows behind the scenes of the music video. While this easter egg is a cool bonus, my lascivious mind can't help but ponder a nice alternative being an extended Candy dance sequence with the lovely Elske McCain. This could be something Mr. Reel can contemplate while composing the DVD for his latest film “Toutes les Francais Sont Putains”.